The Creation
Encyclopedia
The Creation is an oratorio
written between 1796 and 1798 by Joseph Haydn
(H.
21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost
. It is scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra, and is structured
in three parts.
in 1791–1792 and 1794–1795, when he heard oratorios of Handel
performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style.
The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words "Praise to God" at the end of every completed composition. He later remarked, "I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work." Haydn composed much of the work while at his residence in the Mariahilf suburb of Vienna, which is now the Haydnhaus. It was the longest time he had ever spent on a single composition. Explaining this, he wrote, "I spent much time over it because I expect it to last for a long time." In fact, he worked on the project to the point of exhaustion, and collapsed into a period of illness after conducting its premiere performance.
In 1801, Haydn reused some ideas from this oratorio for the Schöpfungsmesse
.
Haydn's original autograph score has been lost since 1803. A Viennese published score dated 1800 forms the basis of most performances today. The 'most authentic' Tonkünstler-Societat score of 1799, with notes in the composer's hand, can be found at the Vienna State Library
. There are various other copyist scores such as the Estate, as well as hybrid editions prepared by scholars during the last two centuries.
, and John Milton
's Genesis epic Paradise Lost
. In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon
(1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World. This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been 4 hours in length when set to music. The libretto
was probably passed on to Salomon by Thomas Linley Sr. (1733–1795), a Drury Lane oratorio concert director. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. Peter Brown (who prepared a particularly fine "authentic" score) and H. C. Robbins Landon, tells us that the original writer remains anonymous.
When Haydn returned to Vienna, he turned this libretto over to Baron van Swieten. The Baron led a multifaceted career as a diplomat, librarian in charge of the imperial library, amateur musician, and generous patron of music and the arts. He is largely responsible for recasting the English libretto of The Creation in a German translation (Die Schöpfung) that Haydn could use to compose. He also made suggestions to Haydn regarding the setting of individual numbers.
The work was published bilingually (1800) and is still performed in both languages today. Haydn himself preferred for the English translation to be used when the work was performed for English-speaking audiences.
Van Swieten was evidently not a fully fluent speaker of English
, and the metrically-matched English version of the libretto has given rise to criticism and various attempts at improvement. Indeed, the English version is sufficiently awkward that the work is sometimes performed in German
even in English-speaking countries. One passage describing the freshly minted Adam’s forehead ended up, “The large and arched front sublime/of wisdom deep declares the seat”. The discussion below quotes the German text as representing van Swieten's best efforts, with fairly literal renderings of the German into English; for the full versions of both texts see the links at the end of this article.
The first public performance the next day was a private affair, but hundreds of people crowded into the street around the Schwarzenberg Palace
to hear this eagerly anticipated work. Admission was by invitation only. Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur, one audience member wrote: "Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it."
The first public performance at Vienna’s Burgtheater on 19 March 1799 was sold out far in advance, and Die Schöpfung was performed nearly forty more times in the city during Haydn’s lifetime. It had its London premiere the next year, in an English translation, at the Covent Garden Theatre. The last performance Haydn attended was on March 27 1808, just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of "light" and "Papa" Haydn, in a typical gesture weakly pointed upwards and said: "Not from me—everything comes from up there!"
Remarkably, The Creation was also performed more than forty times outside Vienna during his lifetime: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States.
A typical performance lasts about one hour and 45 minutes.
s, 2 oboe
s, 2 clarinet
s, 2 bassoon
s, contrabassoon
, 2 horn
s, 2 trumpet
s, alto, tenor, and bass trombones, timpani
, and the usual string sections of first and second violin
s, viola
s, cello
s, and double bass
es. For the recitative
s a harpsichord
or fortepiano
is also used.
There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Between the private premieres for nobles and the public premiere in 1799, Haydn added extra instrumental parts to the work. The forces for the public premiere numbered about 120 instrumentalists and 60 singers.
The three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). In Part III, the role of Adam is usually sung by the same soloist as sings Raphael, and the roles of Gabriel and Eve are also taken by the same singer (this was the practice Haydn followed); however, some conductors prefer to cast each of the five roles with a different soloist.
The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation.
The orchestra often plays alone, notably in the episodes of tone painting
: the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
s and choruses) are often prefaced with a brief recitative
; here, the recitative gives the actual words of Genesis, while the following number elaborates the bare Biblical narrative in verse.
Prelude. Die Vorstellung des Chaos (The Representation of Chaos)
One of the most famous numbers in the work, an overture in C minor in slow tempo, written in sonata form
. Haydn depicts Chaos by withholding musical cadence
s from the ends of phrases.
No. 1. Im Anfange schuf Gott Himmel und Erde
(In the beginning God created Heaven and Earth)
This movement relates the words of Genesis 1:1–4. It begins with a recitative for bass solo in C minor, followed by choral presentation of the creation of light. The latter is depicted first with a soft pizzicato
note from the strings, followed by a sudden surprise fortissimo C major
chord on the word Licht (Light).
This moment created a sensation at the public premiere of the work in Vienna. According to a friend of the composer:
Audiences today generally let the moment speak for itself.
Following the appearance of light is a brief tenor recitative on the words "and God saw the light, that it was good", leading into:
No. 2. Nun schwanden vor dem heiligen Strahle
(Now vanished by the holy beams)
Aria for tenor with chorus in A major, portraying the defeat of Satan
's host, from Paradise Lost
.
End of the first day.
No. 3. Und Gott machte das Firmament
(And God made the firmament)
Long recitative for bass in C major. The bass part first gives the words of Genesis 1:6-7, then follows orchestral tone painting, describing the division of the waters from the land and the first storms.
No. 4. Mit Staunen sieht das Wunderwerk
(The marv'lous work beholds amazed/The glorious hierarchy of heav'n)
Soprano solo with chorus, in C major. The heavenly hosts praise God and the work of the second day.
End of the second day.
No. 5. Und Gott sprach: Es sammle sich das Wasser
(And God said let the waters)
Brief recitative for bass (Genesis 1:9–10), leading into:
No. 6. Rollend in schäumenden Wellen
(Rolling in foaming billows)
Aria in D minor for bass, narrating the creation of seas, mountains, rivers, and (a coda in D major) brooks. As John Mangum points out, the stylistic inspiration here appears to be the "revenge aria" of 18th century opera buffa
, as for instance in "La vendetta", from Mozart's
Le nozze de Figaro
.
No. 7. Und Gott sprach: Es bringe die Erde Gras hervor
(And God said, Let all the earth bring forth grass)
Brief recitative for soprano (Genesis 1:11), leading into:
No. 8. Nun beut die Flur das frische Grün
(Now robed in cool refreshing green)
Solo aria in B flat major for soprano, in siciliana
rhythm, celebrating the creation of plants.
No. 9. Und die himmlischen Heerscharen verkündigten
(And the Heavenly host proclaimed the third day)
Brief recitative for tenor, leading into:
No. 10. Stimmt an die Saiten
(Awake the harp)
Chorus celebrating the third day, with four-part fugue
on the words "For the heavens and earth/He has clothed in stately dress".
End of the third day.
No. 11. Und Gott sprach: Es sei'n Lichter an der Feste des Himmels
(And God said : Let there be lights in the firmament of heaven)
Recitative for tenor, with portions of Genesis 1:14–16.
No. 12. In vollem Glanze steiget jetzt die Sonne
(In splendour bright is rising now/the sun)
With tenor narration, the orchestra portrays a brilliant sunrise, then a languid moonrise. The tune of the sunrise is simply ten notes of the D major scale, variously harmonized
; the moon rises in the subdominant
key of G, also with a rising scale passage. The end of recitative briefly alludes to the new-created stars, then introduces:
No. 13. Die Himmel erzählen die Ehre Gottes
(The heavens are telling the glory of God)
The text is based on Psalm 19
:1–3, which had been set by Bach as the opening chorus of his cantata
Die Himmel erzählen die Ehre Gottes, BWV 76
. Haydn's century, following on the discoveries of Newton
, had the view that an orderly universe—particularly the mathematically-governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel
, ex-composer and discoverer of Uranus
, in his observatory in Slough
.
"Die Himmel erzählen" is not in the home key of Part I, C minor, but is instead in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue
on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".)
The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end.
End of the fourth day.
No. 14. Und Gott sprach: Es bringe das Wasser in der Fülle hervor
(And God said : Let the waters bring forth in plenty)
Recitative for soprano (Genesis 1:20), leading into:
No. 15. Auf starkem Fittiche schwinget sich der Adler stolz
(On mighty wings the eagle proudly soars aloft)
Plum aria for soprano in F major, celebrating the creation of birds. The species mentioned are the eagle
, the lark
, the dove
and the nightingale
. The lyrics include the conceit that, at the time just after the Creation, the nightingale's song was not yet melancholy.
No. 16. Und Gott schuf große Walfische
(And God created great whales.)
For bass solo, in D minor. While labeled a recitative in the score, it is more appropriately described as a recitative (from Genesis 1:21–22) followed by a very brief aria, the latter a verse paraphrase on the biblical words (Gen. 1:22) "Be fruitful and multiply." The bass sings in the voice of the Almighty, as quoted by the Archangel Raphael. The somber accompaniment uses no violins, but only the lower strings, with divided violas and cellos. For discussion of how this section was composed, see Gottfried van Swieten
.
No. 17. Und die Engel rührten ihr' unsterblichen Harfen
(And the angels struck their immortal harps.)
Brief recitative for bass, with notable harp imitations in the accompaniment, leading into:
No. 18. In holder Anmut stehn
(In fairest raiment)
Haydn breaks the regularity of the pattern "Recitative–Elaboration for solo–Celebratory chorus" with a meditative work in A major for the trio of vocalists, contemplating the beauty and immensity of the newly created world.
This leads without a break to:
No. 19. Der Herr ist groß in seiner Macht (The Lord is great in his might)
Chorus with all three soloists, in A major, celebrating the fifth day. The line "...und ewig bleibt sein Ruhm" is, appropriately, repeated over and over again, seemingly without end.
End of the fifth day
No. 20. Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe
(And God said : Let earth bring forth the living creature)
Recitative for bass (Genesis 1:24), leading into:
No. 21. Gleich öffnet sich der Erde Schoß
(At once Earth opens her womb)
A movement of tone painting with bass narration. Haydn's gentle sense of humor is indulged here as the newly created creatures appear, each with musical illustration: lion, tiger, stag, horse, cattle, sheep, insects, and worms. As always in Haydn's oratorio tone painting, the sung verbal explanation comes after the orchestral portrayal.
The transition from glamorous animals (the first four) to prosaic ones (the last four) is marked with an unprepared modulation from D flat to A major. The farm animals are portrayed (as in No. 8) with siciliana
rhythm, which plainly had bucolic associations for Haydn. Basses who have a strong low D are often tempted to use it on the final note "Wurm", substituting for the D an octave lower than written by Haydn.
Sound clip: bass Kyle Ketelson, Creation excerpt #3, from http://www.kylek.net.
No. 22. Nun scheint in vollem Glanze der Himmel
(Now shines heaven in the brightest glory)
Aria for bass in D major, in 3/4 time. The theme is
Thus the movement is preparatory to the creation of man.
The first part of the movement contains another brief but notable bit of tone painting: a fortissimo bottom B-flat (sounding in octaves) for bassoon
s and contrabassoon
accompanying the last word of the line, "By heavy beasts the ground is trod."
No. 23. Und Gott schuf den Menschen
(And God created Man)
Tenor recitative (Genesis 1:27, 2:7), leading to:
No. 24. Mit Würd' und Hoheit angetan
(In native worth and honor clad)
A prized aria for tenor, in C major, celebrating the creation of man, then woman. Often sung outside the context of The Creation. Although the aria relates a Biblical story, the virtues attributed to Adam (and not Eve) clearly reflect the values of the Enlightenment.
This was almost certainly the last music from The Creation that Haydn ever heard: it was sung for him several days before his death in 1809 as a gesture of respect by a French military officer, a member of Napoleon's invading army.
No. 25. Und Gott sah jedes Ding
(And God saw every thing)
Brief recitative for bass (text amplifying Genesis 1:31), leading to:
No. 26. Vollendet ist das große Werk
(The great work is complete)
A celebration for chorus alone, in B flat, of the sixth day.
No. 27. Zu dir, o Herr, blickt alles auf
(All look up to thee, O Lord)
Another meditation for the three angels (compare No. 18), in E flat major, on God's omnipotence and mercy, quoting Psalm 145:15–16. The bass solo line "Du wendest ab dein Angesicht" requires the singer to terrify the audience with barely-audible pianissimo. The end of the trio is followed without pause by...
No. 28. Vollendet ist das große Werk
(Fulfilled at last the great work)
This chorus begins with the same music and words as No. 26, and is in the same key of B flat. It quickly moves into large double fugue on the words "Alles lobe seinen Namen, denn er allein ist hoch erhaben" ("Let all praise his name, for he alone is sublime"). As appropriate to the finale of Part II, this repeat chorus is longer and ends more intensely than the first.
The pattern of the last three numbers of Part II, with two celebratory movements on the same theme flanking a slower meditative movement, echoes countless settings of the Latin Mass
, where similar or identical choruses on Hosanna in excelsis flank a meditative section on Benedictus.
, and narrates the happy first hours of Adam and Eve
.
No. 29. Aus Rosenwolken bricht
(In rosy mantle appears)
Orchestral prelude in slow tempo depicting dawn in the Garden of Eden, followed by recitative for tenor representing Uriel.
Adam and Eve are seen walking hand in hand.
The key is E major, very remote from the flat-side keys that have dominated the work so far. Various commentators suggest that this was meant by Haydn to convey the remoteness of Earth from Heaven, or to contrast the sinfulness of people with the perfection of angels.
No. 30. Von deiner Güt, o Herr und Gott
(By thy goodness, O bounteous Lord)
Adam and Eve offer a prayer of thanks in C major, accompanied by a chorus of angels.
This movement, the longest in The Creation, has three parts. In the first, marked adagio
, Adam and Eve sing their prayer, with the chorus singing underneath them accompanied by soft timpani rolls. In the second section, the tempo picks up, and Adam, Eve, and the angels praise the newly created world. The final section is for chorus and orchestra alone, a celebration on the words "Wir preisen dich in Ewigkeit" ("We praise thee eternally").
No. 31. Nun ist die erste Pflicht erfüllt
(Our first duty we have now performed)
Recitative for Adam and Eve, leading to:
No. 32. Holde Gattin, dir zur Seite
(Sweet companion, at thy side)
Love duet for Adam and Eve in E flat major. There is a slow initial section, followed by an Allegro. The style is clearly influenced by opera
, and some commentators invoke a parallel between Adam and Eve and the characters Papageno and Papagena, from Mozart's
Die Zauberflöte.
No. 33. O glücklich Paar, und glücklich immerfort
(O happy pair, and ever happy henceforth)
Uriel briefly explains to the pair that they will be happy always if they will refrain from wanting to have, or wishing to know, more than they should. This is the only reference to the fall of humanity.
No. 34. Singt dem Herren alle Stimmen!
(Sing the Lord, ye voices all)
Final chorus in B flat major. There is a slow introduction, followed by a double fugue on the words "Des Herren Ruhm, er bleibt in Ewigkeit" ("The praise of the Lord will endure forever"), with passages for the vocal soloists and a final homophonic section.
by Connie Willis
, near the end where Coventry Chapel is finally rebuilt and the choir sings "The Heavens are Declaring the Glory of God".
Oratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
written between 1796 and 1798 by Joseph Haydn
Joseph Haydn
Franz Joseph Haydn , known as Joseph Haydn , was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms...
(H.
Hoboken-Verzeichnis
The Hoboken-Verzeichnis is the catalogue of over 750 works by Joseph Haydn as compiled by Anthony van Hoboken.Unlike Ludwig von Köchel's catalogue of Wolfgang Amadeus Mozart's works, or Otto Erich Deutsch's catalogue of Franz Schubert's works, which are both arranged chronologically by date of...
21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost
Paradise Lost
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse...
. It is scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra, and is structured
The Creation structure
The Creation, the oratorio by Joseph Haydn, is structured in three parts. He composed it in 1796–1798 on German text as Die Schöpfung. The work is set for soloists, chorus and orchestra. Its movements are listed in tables for their form, voice, key, tempo marking, time signature and...
in three parts.
Composition
Haydn was inspired to write a large oratorio during his visits to EnglandEngland
England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west; the Irish Sea is to the north west, the Celtic Sea to the south west, with the North Sea to the east and the English Channel to the south separating it from continental...
in 1791–1792 and 1794–1795, when he heard oratorios of Handel
HANDEL
HANDEL was the code-name for the UK's National Attack Warning System in the Cold War. It consisted of a small console consisting of two microphones, lights and gauges. The reason behind this was to provide a back-up if anything failed....
performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style.
The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words "Praise to God" at the end of every completed composition. He later remarked, "I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work." Haydn composed much of the work while at his residence in the Mariahilf suburb of Vienna, which is now the Haydnhaus. It was the longest time he had ever spent on a single composition. Explaining this, he wrote, "I spent much time over it because I expect it to last for a long time." In fact, he worked on the project to the point of exhaustion, and collapsed into a period of illness after conducting its premiere performance.
In 1801, Haydn reused some ideas from this oratorio for the Schöpfungsmesse
Schöpfungsmesse
The Mass No. 13 in B flat major, Hob. 22/13, was composed by Joseph Haydn in 1801. It is known as the Schöpfungsmesse or Creation Mass because for the words "Qui tollis peccata mundi" in the Gloria, Haydn recycled music from the Adam and Eve's final duet in The Creation, a fact which scandalized...
.
Haydn's original autograph score has been lost since 1803. A Viennese published score dated 1800 forms the basis of most performances today. The 'most authentic' Tonkünstler-Societat score of 1799, with notes in the composer's hand, can be found at the Vienna State Library
Wiener Stadtbibliothek
The Vienna City and State Library , founded in 1856, is located in the city of Vienna, capital of Austria. It is the official library of the City and State of Vienna and located at City Hall. It preserves 500,000 books, 2,000 newspapers and magazines, 300,000 posters, 500,000 autographs, notable...
. There are various other copyist scores such as the Estate, as well as hybrid editions prepared by scholars during the last two centuries.
Libretto
The text of The Creation has a long history. The three sources are Genesis, the Biblical book of PsalmsPsalms
The Book of Psalms , commonly referred to simply as Psalms, is a book of the Hebrew Bible and the Christian Bible...
, and John Milton
John Milton
John Milton was an English poet, polemicist, a scholarly man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell...
's Genesis epic Paradise Lost
Paradise Lost
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse...
. In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon
Johann Peter Salomon
Johann Peter Salomon was a German violinist, composer, conductor and musical impresario.-Life:...
(1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World. This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been 4 hours in length when set to music. The libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
was probably passed on to Salomon by Thomas Linley Sr. (1733–1795), a Drury Lane oratorio concert director. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. Peter Brown (who prepared a particularly fine "authentic" score) and H. C. Robbins Landon, tells us that the original writer remains anonymous.
When Haydn returned to Vienna, he turned this libretto over to Baron van Swieten. The Baron led a multifaceted career as a diplomat, librarian in charge of the imperial library, amateur musician, and generous patron of music and the arts. He is largely responsible for recasting the English libretto of The Creation in a German translation (Die Schöpfung) that Haydn could use to compose. He also made suggestions to Haydn regarding the setting of individual numbers.
The work was published bilingually (1800) and is still performed in both languages today. Haydn himself preferred for the English translation to be used when the work was performed for English-speaking audiences.
Van Swieten was evidently not a fully fluent speaker of English
English language
English is a West Germanic language that arose in the Anglo-Saxon kingdoms of England and spread into what was to become south-east Scotland under the influence of the Anglian medieval kingdom of Northumbria...
, and the metrically-matched English version of the libretto has given rise to criticism and various attempts at improvement. Indeed, the English version is sufficiently awkward that the work is sometimes performed in German
German language
German is a West Germanic language, related to and classified alongside English and Dutch. With an estimated 90 – 98 million native speakers, German is one of the world's major languages and is the most widely-spoken first language in the European Union....
even in English-speaking countries. One passage describing the freshly minted Adam’s forehead ended up, “The large and arched front sublime/of wisdom deep declares the seat”. The discussion below quotes the German text as representing van Swieten's best efforts, with fairly literal renderings of the German into English; for the full versions of both texts see the links at the end of this article.
Premiere
The first performances in 1798 were sponsored by a group of noble citizens, who paid the composer handsomely for the right to stage the premiere (Salomon briefly threatened to sue, on grounds that the English libretto had been translated illegally). The performance was delayed until late April—the parts were not finished until Good Friday—but the completed work was rehearsed before a full audience on April 29.The first public performance the next day was a private affair, but hundreds of people crowded into the street around the Schwarzenberg Palace
Palais Schwarzenberg
Palais Schwarzenberg is a Baroque palace in front of Schwarzenbergplatz, Landstraße, the 3rd district of Vienna, Austria. It is owned by the princely Schwarzenberg family....
to hear this eagerly anticipated work. Admission was by invitation only. Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur, one audience member wrote: "Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it."
The first public performance at Vienna’s Burgtheater on 19 March 1799 was sold out far in advance, and Die Schöpfung was performed nearly forty more times in the city during Haydn’s lifetime. It had its London premiere the next year, in an English translation, at the Covent Garden Theatre. The last performance Haydn attended was on March 27 1808, just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of "light" and "Papa" Haydn, in a typical gesture weakly pointed upwards and said: "Not from me—everything comes from up there!"
Remarkably, The Creation was also performed more than forty times outside Vienna during his lifetime: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States.
A typical performance lasts about one hour and 45 minutes.
Instrumentation
The Creation is set for three vocal soloists (soprano, tenor, and bass, with an incidental solo for alto in the finale), four-part chorus (soprano, alto, tenor, bass), and a large Classical orchestra consisting of 3 fluteFlute
The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening...
s, 2 oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s, 2 clarinet
Clarinet
The clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...
s, 2 bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s, contrabassoon
Contrabassoon
The contrabassoon, also known as the double bassoon or double-bassoon, is a larger version of the bassoon, sounding an octave lower...
, 2 horn
Horn (instrument)
The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
s, 2 trumpet
Trumpet
The trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
s, alto, tenor, and bass trombones, timpani
Timpani
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet...
, and the usual string sections of first and second violin
Violin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
s, viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
s, cello
Cello
The cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
s, and double bass
Double bass
The double bass, also called the string bass, upright bass, standup bass or contrabass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2...
es. For the recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
s a harpsichord
Harpsichord
A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed.In the narrow sense, "harpsichord" designates only the large wing-shaped instruments in which the strings are perpendicular to the keyboard...
or fortepiano
Fortepiano
Fortepiano designates the early version of the piano, from its invention by the Italian instrument maker Bartolomeo Cristofori around 1700 up to the early 19th century. It was the instrument for which Haydn, Mozart, and the early Beethoven wrote their piano music...
is also used.
There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Between the private premieres for nobles and the public premiere in 1799, Haydn added extra instrumental parts to the work. The forces for the public premiere numbered about 120 instrumentalists and 60 singers.
The three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). In Part III, the role of Adam is usually sung by the same soloist as sings Raphael, and the roles of Gabriel and Eve are also taken by the same singer (this was the practice Haydn followed); however, some conductors prefer to cast each of the five roles with a different soloist.
The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation.
The orchestra often plays alone, notably in the episodes of tone painting
Word painting
Word painting is the musical technique of writing music that reflects the literal meaning of a song. For example, ascending scales would accompany lyrics about going up; slow, dark music would accompany lyrics about death.Tone painting of words goes at least as far back as Gregorian chant...
: the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
Musical numbers
The Creation is written in three parts, whose musical numbers are given below. As in other oratorios, the larger musical numbers (ariaAria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s and choruses) are often prefaced with a brief recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
; here, the recitative gives the actual words of Genesis, while the following number elaborates the bare Biblical narrative in verse.
Part I
Part I celebrates the creation of the primal light, the Earth, the heavenly bodies, bodies of water, weather, and plant life.Prelude. Die Vorstellung des Chaos (The Representation of Chaos)
One of the most famous numbers in the work, an overture in C minor in slow tempo, written in sonata form
Sonata form
Sonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
. Haydn depicts Chaos by withholding musical cadence
Cadence (music)
In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music...
s from the ends of phrases.
No. 1. Im Anfange schuf Gott Himmel und Erde
(In the beginning God created Heaven and Earth)
This movement relates the words of Genesis 1:1–4. It begins with a recitative for bass solo in C minor, followed by choral presentation of the creation of light. The latter is depicted first with a soft pizzicato
Pizzicato
Pizzicato is a playing technique that involves plucking the strings of a string instrument. The exact technique varies somewhat depending on the type of stringed instrument....
note from the strings, followed by a sudden surprise fortissimo C major
C major
C major is a musical major scale based on C, with pitches C, D, E, F, G, A, and B. Its key signature has no flats/sharps.Its relative minor is A minor, and its parallel minor is C minor....
chord on the word Licht (Light).
This moment created a sensation at the public premiere of the work in Vienna. According to a friend of the composer:
- at that moment when light broke out for the first time, one would have said that rays darted from the composer's burning eyes. The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes.
Audiences today generally let the moment speak for itself.
Following the appearance of light is a brief tenor recitative on the words "and God saw the light, that it was good", leading into:
No. 2. Nun schwanden vor dem heiligen Strahle
(Now vanished by the holy beams)
Aria for tenor with chorus in A major, portraying the defeat of Satan
Satan
Satan , "the opposer", is the title of various entities, both human and divine, who challenge the faith of humans in the Hebrew Bible...
's host, from Paradise Lost
Paradise Lost
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse...
.
End of the first day.
No. 3. Und Gott machte das Firmament
(And God made the firmament)
Long recitative for bass in C major. The bass part first gives the words of Genesis 1:6-7, then follows orchestral tone painting, describing the division of the waters from the land and the first storms.
No. 4. Mit Staunen sieht das Wunderwerk
(The marv'lous work beholds amazed/The glorious hierarchy of heav'n)
Soprano solo with chorus, in C major. The heavenly hosts praise God and the work of the second day.
End of the second day.
No. 5. Und Gott sprach: Es sammle sich das Wasser
(And God said let the waters)
Brief recitative for bass (Genesis 1:9–10), leading into:
No. 6. Rollend in schäumenden Wellen
(Rolling in foaming billows)
Aria in D minor for bass, narrating the creation of seas, mountains, rivers, and (a coda in D major) brooks. As John Mangum points out, the stylistic inspiration here appears to be the "revenge aria" of 18th century opera buffa
Opera buffa
Opera buffa is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as ‘commedia in musica’, ‘commedia per musica’, ‘dramma bernesco’, ‘dramma comico’, ‘divertimento giocoso' etc...
, as for instance in "La vendetta", from Mozart's
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
Le nozze de Figaro
The Marriage of Figaro
Le nozze di Figaro, ossia la folle giornata , K. 492, is an opera buffa composed in 1786 in four acts by Wolfgang Amadeus Mozart, with Italian libretto by Lorenzo Da Ponte, based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro .Although the play by...
.
No. 7. Und Gott sprach: Es bringe die Erde Gras hervor
(And God said, Let all the earth bring forth grass)
Brief recitative for soprano (Genesis 1:11), leading into:
No. 8. Nun beut die Flur das frische Grün
(Now robed in cool refreshing green)
Solo aria in B flat major for soprano, in siciliana
Siciliana
The siciliana or siciliano is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow 6/8 or 12/8 time with lilting rhythms making it somewhat resemble a slow jig, and is usually in a minor key. It was used for arias in...
rhythm, celebrating the creation of plants.
No. 9. Und die himmlischen Heerscharen verkündigten
(And the Heavenly host proclaimed the third day)
Brief recitative for tenor, leading into:
No. 10. Stimmt an die Saiten
(Awake the harp)
Chorus celebrating the third day, with four-part fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
on the words "For the heavens and earth/He has clothed in stately dress".
End of the third day.
No. 11. Und Gott sprach: Es sei'n Lichter an der Feste des Himmels
(And God said : Let there be lights in the firmament of heaven)
Recitative for tenor, with portions of Genesis 1:14–16.
No. 12. In vollem Glanze steiget jetzt die Sonne
(In splendour bright is rising now/the sun)
With tenor narration, the orchestra portrays a brilliant sunrise, then a languid moonrise. The tune of the sunrise is simply ten notes of the D major scale, variously harmonized
Harmonized scale
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads"....
; the moon rises in the subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
key of G, also with a rising scale passage. The end of recitative briefly alludes to the new-created stars, then introduces:
No. 13. Die Himmel erzählen die Ehre Gottes
(The heavens are telling the glory of God)
The text is based on Psalm 19
Psalm 19
Psalm 19 is the 19th psalm in the Book of Psalms . It is ascribed to David.The psalm consider the glory of God in Creation, and moves to reflect on the character and use of the Torah. A comparison is made between the Torah and the Sun, which lends a degree of unity to the psalm. C. S...
:1–3, which had been set by Bach as the opening chorus of his cantata
Bach cantata
Bach cantata became a term for a cantata of the German Baroque composer Johann Sebastian Bach who was a prolific writer of the genre. Although many of his works are lost, around 200 cantatas survived....
Die Himmel erzählen die Ehre Gottes, BWV 76
Die Himmel erzählen die Ehre Gottes, BWV 76
Die Himmel erzählen die Ehre Gottes , BWV 76, is a church cantata by Johann Sebastian Bach. It was composed in Leipzig for the second Sunday after Trinity and first performed by the composer on 6 June 1723...
. Haydn's century, following on the discoveries of Newton
Isaac Newton
Sir Isaac Newton PRS was an English physicist, mathematician, astronomer, natural philosopher, alchemist, and theologian, who has been "considered by many to be the greatest and most influential scientist who ever lived."...
, had the view that an orderly universe—particularly the mathematically-governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel
William Herschel
Sir Frederick William Herschel, KH, FRS, German: Friedrich Wilhelm Herschel was a German-born British astronomer, technical expert, and composer. Born in Hanover, Wilhelm first followed his father into the Military Band of Hanover, but emigrated to Britain at age 19...
, ex-composer and discoverer of Uranus
Uranus
Uranus is the seventh planet from the Sun. It has the third-largest planetary radius and fourth-largest planetary mass in the Solar System. It is named after the ancient Greek deity of the sky Uranus , the father of Cronus and grandfather of Zeus...
, in his observatory in Slough
Slough
Slough is a borough and unitary authority within the ceremonial county of Royal Berkshire, England. The town straddles the A4 Bath Road and the Great Western Main Line, west of central London...
.
"Die Himmel erzählen" is not in the home key of Part I, C minor, but is instead in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".)
The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end.
End of the fourth day.
Part II
Part II celebrates the creation of sea creatures, birds, animals, and lastly, man.No. 14. Und Gott sprach: Es bringe das Wasser in der Fülle hervor
(And God said : Let the waters bring forth in plenty)
Recitative for soprano (Genesis 1:20), leading into:
No. 15. Auf starkem Fittiche schwinget sich der Adler stolz
(On mighty wings the eagle proudly soars aloft)
Plum aria for soprano in F major, celebrating the creation of birds. The species mentioned are the eagle
Eagle
Eagles are members of the bird family Accipitridae, and belong to several genera which are not necessarily closely related to each other. Most of the more than 60 species occur in Eurasia and Africa. Outside this area, just two species can be found in the United States and Canada, nine more in...
, the lark
Lark
Larks are passerine birds of the family Alaudidae. All species occur in the Old World, and in northern and eastern Australia; only one, the Shore Lark, has spread to North America, where it is called the Horned Lark...
, the dove
Dove
Pigeons and doves constitute the bird family Columbidae within the order Columbiformes, which include some 300 species of near passerines. In general terms "dove" and "pigeon" are used somewhat interchangeably...
and the nightingale
Nightingale
The Nightingale , also known as Rufous and Common Nightingale, is a small passerine bird that was formerly classed as a member of the thrush family Turdidae, but is now more generally considered to be an Old World flycatcher, Muscicapidae...
. The lyrics include the conceit that, at the time just after the Creation, the nightingale's song was not yet melancholy.
No. 16. Und Gott schuf große Walfische
(And God created great whales.)
For bass solo, in D minor. While labeled a recitative in the score, it is more appropriately described as a recitative (from Genesis 1:21–22) followed by a very brief aria, the latter a verse paraphrase on the biblical words (Gen. 1:22) "Be fruitful and multiply." The bass sings in the voice of the Almighty, as quoted by the Archangel Raphael. The somber accompaniment uses no violins, but only the lower strings, with divided violas and cellos. For discussion of how this section was composed, see Gottfried van Swieten
Gottfried van Swieten
Gottfried, Freiherr van Swieten was a diplomat, librarian, and government official who served the Austrian Empire during the 18th century...
.
No. 17. Und die Engel rührten ihr' unsterblichen Harfen
(And the angels struck their immortal harps.)
Brief recitative for bass, with notable harp imitations in the accompaniment, leading into:
No. 18. In holder Anmut stehn
(In fairest raiment)
Haydn breaks the regularity of the pattern "Recitative–Elaboration for solo–Celebratory chorus" with a meditative work in A major for the trio of vocalists, contemplating the beauty and immensity of the newly created world.
This leads without a break to:
No. 19. Der Herr ist groß in seiner Macht (The Lord is great in his might)
Chorus with all three soloists, in A major, celebrating the fifth day. The line "...und ewig bleibt sein Ruhm" is, appropriately, repeated over and over again, seemingly without end.
End of the fifth day
No. 20. Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe
(And God said : Let earth bring forth the living creature)
Recitative for bass (Genesis 1:24), leading into:
No. 21. Gleich öffnet sich der Erde Schoß
(At once Earth opens her womb)
A movement of tone painting with bass narration. Haydn's gentle sense of humor is indulged here as the newly created creatures appear, each with musical illustration: lion, tiger, stag, horse, cattle, sheep, insects, and worms. As always in Haydn's oratorio tone painting, the sung verbal explanation comes after the orchestral portrayal.
The transition from glamorous animals (the first four) to prosaic ones (the last four) is marked with an unprepared modulation from D flat to A major. The farm animals are portrayed (as in No. 8) with siciliana
Siciliana
The siciliana or siciliano is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow 6/8 or 12/8 time with lilting rhythms making it somewhat resemble a slow jig, and is usually in a minor key. It was used for arias in...
rhythm, which plainly had bucolic associations for Haydn. Basses who have a strong low D are often tempted to use it on the final note "Wurm", substituting for the D an octave lower than written by Haydn.
Sound clip: bass Kyle Ketelson, Creation excerpt #3, from http://www.kylek.net.
No. 22. Nun scheint in vollem Glanze der Himmel
(Now shines heaven in the brightest glory)
Aria for bass in D major, in 3/4 time. The theme is
- Doch war noch alles nicht vollbracht
- Dem Ganzen fehlte das Geschöpf
- Das Gottes Werke dankbar seh'n
- Des Herren Güte preisen soll.
- "Yet not all was complete,
- The whole lacked a being
- Who would behold God's work with thanks
- And praise the Lord's goodness."
Thus the movement is preparatory to the creation of man.
The first part of the movement contains another brief but notable bit of tone painting: a fortissimo bottom B-flat (sounding in octaves) for bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s and contrabassoon
Contrabassoon
The contrabassoon, also known as the double bassoon or double-bassoon, is a larger version of the bassoon, sounding an octave lower...
accompanying the last word of the line, "By heavy beasts the ground is trod."
No. 23. Und Gott schuf den Menschen
(And God created Man)
Tenor recitative (Genesis 1:27, 2:7), leading to:
No. 24. Mit Würd' und Hoheit angetan
(In native worth and honor clad)
A prized aria for tenor, in C major, celebrating the creation of man, then woman. Often sung outside the context of The Creation. Although the aria relates a Biblical story, the virtues attributed to Adam (and not Eve) clearly reflect the values of the Enlightenment.
This was almost certainly the last music from The Creation that Haydn ever heard: it was sung for him several days before his death in 1809 as a gesture of respect by a French military officer, a member of Napoleon's invading army.
No. 25. Und Gott sah jedes Ding
(And God saw every thing)
Brief recitative for bass (text amplifying Genesis 1:31), leading to:
No. 26. Vollendet ist das große Werk
(The great work is complete)
A celebration for chorus alone, in B flat, of the sixth day.
No. 27. Zu dir, o Herr, blickt alles auf
(All look up to thee, O Lord)
Another meditation for the three angels (compare No. 18), in E flat major, on God's omnipotence and mercy, quoting Psalm 145:15–16. The bass solo line "Du wendest ab dein Angesicht" requires the singer to terrify the audience with barely-audible pianissimo. The end of the trio is followed without pause by...
No. 28. Vollendet ist das große Werk
(Fulfilled at last the great work)
This chorus begins with the same music and words as No. 26, and is in the same key of B flat. It quickly moves into large double fugue on the words "Alles lobe seinen Namen, denn er allein ist hoch erhaben" ("Let all praise his name, for he alone is sublime"). As appropriate to the finale of Part II, this repeat chorus is longer and ends more intensely than the first.
The pattern of the last three numbers of Part II, with two celebratory movements on the same theme flanking a slower meditative movement, echoes countless settings of the Latin Mass
Mass (music)
The Mass, a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy to music...
, where similar or identical choruses on Hosanna in excelsis flank a meditative section on Benedictus.
Part III
Part III takes place in the Garden of EdenGarden of Eden
The Garden of Eden is in the Bible's Book of Genesis as being the place where the first man, Adam, and his wife, Eve, lived after they were created by God. Literally, the Bible speaks about a garden in Eden...
, and narrates the happy first hours of Adam and Eve
Adam and Eve
Adam and Eve were, according to the Genesis creation narratives, the first human couple to inhabit Earth, created by YHWH, the God of the ancient Hebrews...
.
No. 29. Aus Rosenwolken bricht
(In rosy mantle appears)
Orchestral prelude in slow tempo depicting dawn in the Garden of Eden, followed by recitative for tenor representing Uriel.
Adam and Eve are seen walking hand in hand.
The key is E major, very remote from the flat-side keys that have dominated the work so far. Various commentators suggest that this was meant by Haydn to convey the remoteness of Earth from Heaven, or to contrast the sinfulness of people with the perfection of angels.
No. 30. Von deiner Güt, o Herr und Gott
(By thy goodness, O bounteous Lord)
Adam and Eve offer a prayer of thanks in C major, accompanied by a chorus of angels.
This movement, the longest in The Creation, has three parts. In the first, marked adagio
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
, Adam and Eve sing their prayer, with the chorus singing underneath them accompanied by soft timpani rolls. In the second section, the tempo picks up, and Adam, Eve, and the angels praise the newly created world. The final section is for chorus and orchestra alone, a celebration on the words "Wir preisen dich in Ewigkeit" ("We praise thee eternally").
No. 31. Nun ist die erste Pflicht erfüllt
(Our first duty we have now performed)
Recitative for Adam and Eve, leading to:
No. 32. Holde Gattin, dir zur Seite
(Sweet companion, at thy side)
Love duet for Adam and Eve in E flat major. There is a slow initial section, followed by an Allegro. The style is clearly influenced by opera
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
, and some commentators invoke a parallel between Adam and Eve and the characters Papageno and Papagena, from Mozart's
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
Die Zauberflöte.
No. 33. O glücklich Paar, und glücklich immerfort
(O happy pair, and ever happy henceforth)
Uriel briefly explains to the pair that they will be happy always if they will refrain from wanting to have, or wishing to know, more than they should. This is the only reference to the fall of humanity.
No. 34. Singt dem Herren alle Stimmen!
(Sing the Lord, ye voices all)
Final chorus in B flat major. There is a slow introduction, followed by a double fugue on the words "Des Herren Ruhm, er bleibt in Ewigkeit" ("The praise of the Lord will endure forever"), with passages for the vocal soloists and a final homophonic section.
Recordings
- Recorded in 1942 in Vienna, conducted by Clemens KraussClemens KraussClemens Heinrich Krauss was an Austrian conductor and opera impresario, particularly associated with the music of Richard Strauss.-Biography:...
with the Vienna Philharmonic OrchestraVienna Philharmonic OrchestraThe Vienna Philharmonic is an orchestra in Austria, regularly considered one of the finest in the world....
. Trude EipperleTrude EipperleTrude Eipperle was a German operatic soprano.She studied at the Musikhochschule in her native Stuttgart, and made her stage debut in Wiesbaden, in 1930. She sang in Nuremberg , Brunswick , Munich , Cologne , and Stuttgart from 1951 onwards...
, Julius PatzakJulius PatzakJulius Patzak was an Austrian tenor distinguished in operatic and concert work. He was particularly noted in Mozart, Beethoven and in early 20th century German repertoire.-Biography:...
, and Georg HannGeorg HannGeorg Hann was an Austrian operatic bass-baritone, particularly associated with the comic German repertory....
. Printed by Phonographie, PH 5029/30. - Live performance from Munich, April 27, 1951, conducted by Eugen JochumEugen JochumEugen Jochum was an eminent German conductor.Born in Babenhausen, near Augsburg, Germany, Jochum studied the piano and organ in Augsburg until 1922. He then studied conducting in Munich...
with the Symphonieorchester und Chor des of Bayerischen Rundfunks. Irmgard SeefriedIrmgard SeefriedIrmgard Seefried was a distinguished German soprano who sang opera and lieder.Maria Theresia Irmgard Seefried was born in Köngetried, near Mindelheim, Bavaria, Germany, the daughter of educated Austrian-born parents. She studied at Augsburg University before making her debut in Aachen as the...
, Walther LudwigWalther LudwigWalther Ludwig was a German operatic lyric tenor, particularly associated with Mozart roles and Schubert lieder....
, and Hans HotterHans HotterHans Hotter was a German operatic bass-baritone, admired internationally after World War II for the power, beauty, and intelligence of his singing, especially in Wagner operas. He was extremely tall and his appearance was striking because of his high, narrow face, wide mouth, and big, aquiline nose...
. Melodram, GM 4.0055. - Recorded in 1960, conducted by Karl Forster with the Chor der St. Hedwigs-Kathedrale Berlin. Elisabeth GrümmerElisabeth GrümmerElisabeth Schilz Grümmer was a German operatic lyric soprano.She was born at Niederjeutz, near Diedenhofen, Alsace-Lorraine to German parents...
, Josef TraxelJosef TraxelJosef Traxel was a German operatic tenor, particularly associated with Mozart roles and the German repertory....
, and Gottlob FrickGottlob FrickGottlob Frick was a German bass who sang in opera. He was known for his wide repertory including Wagner and Mozart roles, as well as those of Nicolai and Lortzing.-Career:...
. EMIEMIThe EMI Group, also known as EMI Music or simply EMI, is a multinational music company headquartered in London, United Kingdom. It is the fourth-largest business group and family of record labels in the recording industry and one of the "big four" record companies. EMI Group also has a major...
, CZS 7 62595 2. - Recorded partly in February 1966 and partly at a later date following the September 1966 death of Fritz Wunderlich, whose place was taken by Werner Krenn, and released in 1969: conducted by Herbert von KarajanHerbert von KarajanHerbert von Karajan was an Austrian orchestra and opera conductor. To the wider world he was perhaps most famously associated with the Berlin Philharmonic, of which he was principal conductor for 35 years...
with the Berlin Philharmonic OrchestraBerlin Philharmonic OrchestraThe Berlin Philharmonic, German: , formerly Berliner Philharmonisches Orchester , is an orchestra based in Berlin, Germany. In 2006, a group of ten European media outlets voted the Berlin Philharmonic number three on a list of "top ten European Orchestras", after the Vienna Philharmonic and the...
and the Wiener SingvereinWiener SingvereinThe Vienna Singverein is the concert choir of the Vienna Musikverein with around 230 members. It is regularly requested by top orchestras and conductors for large and varied projects.- History :...
. Gundula JanowitzGundula JanowitzGundula Janowitz is an Austrian lyric soprano singer of operas, oratorios and concerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.-Career:...
, Christa LudwigChrista LudwigChrista Ludwig is a retired German mezzo-soprano, distinguished for her performances of opera, Lieder, oratorio and other major religious works like masses and passions, and solos contained in symphonic literature...
, Dietrich Fischer-DieskauDietrich Fischer-DieskauDietrich Fischer-Dieskau is a retired German lyric baritone and conductor of classical music, one of the most famous lieder performers of the post-war period and "one of the supreme vocal artists of the 20th century"...
, Walter Berry, Werner Krenn, and Fritz WunderlichFritz WunderlichFriedrich "Fritz" Karl Otto Wunderlich was a German lyric tenor, famed for his singing of the Mozart repertory and Italian and German opera and lieder. He died in an accident when he was only 35...
in his final recording. Deutsche GrammophonDeutsche GrammophonDeutsche Grammophon is a German classical record label which was the foundation of the future corporation to be known as PolyGram. It is now part of Universal Music Group since its acquisition and absorption of PolyGram in 1999, and it is also UMG's oldest active label...
289449 761-2. - Recorded in 1977, conducted by Antal DoratiAntal DorátiAntal Doráti, KBE was a Hungarian-born conductor and composer who became a naturalized American citizen in 1947.-Biography:...
with the Brighton Festival Chorus. Lucia PoppLucia PoppLucia Popp was a notable Slovak operatic soprano. She began her career as a soubrette soprano, and later moved into the light-lyric and lyric coloratura soprano repertoire and then the lighter Richard Strauss and Wagner operas. Her career included performances at Vienna State Opera, the...
, Werner Hollweg, Kurt MollKurt MollKurt Moll is a German operatic bass, now retired.-Biography:Moll was born in Buir, near Cologne, Germany. As a child, he played the cello and hoped to become a great cellist. He also sang in the school choir, and the conductor encouraged him to concentrate on singing...
, Helena Dose, and Benjamin LuxonBenjamin LuxonBenjamin Matthew Luxon CBE is a retired British baritone.-Biography:He studied with Walter Grünner at the Guildhall School of Music and Drama and established an international reputation as a singer when he won a third prize at the 1961 ARD International Music Competition in Munich...
. DeccaDecca RecordsDecca Records began as a British record label established in 1929 by Edward Lewis. Its U.S. label was established in late 1934; however, owing to World War II, the link with the British company was broken for several decades....
, London 443 027-2. - Recorded in 1982 on period instruments at a concert in the Conservatoire Royal de Musique de Liege, conducted by Sigiswald KuijkenSigiswald KuijkenSigiswald Kuijken is a Belgian violinist, violist, and conductor known for playing on authentic instruments.-Biography:Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972...
with the Collegium Vocale Gent and La Petite BandeLa Petite BandeLa Petite Bande is a Belgium-based ensemble specialising in Baroque music played on period instruments. They are particularly known for their recordings of works by Corelli, Rameau, Handel, and Bach.-History:...
. Krisztina Laki, Neil MackieNeil MackieNeil Mackie CBE, CStJ, FRSE, FRCM, FRSAMD is a Scottish classical tenor and Professor at the Royal Academy of Music. During his 30 year international career as a singer, he was closely associated with the works of 20th century composers, particularly Benjamin Britten, and Peter Maxwell Davies...
, and Philippe HuttenlocherPhilippe HuttenlocherPhilippe Huttenlocher is a Swiss baritone.He was born in Neuchâtel, Switzerland. He first studied violin at the conservatory in Neuchâtel, and then voice in Fribourg...
. Accent / Harmonia MundiHarmonia MundiHarmonia Mundi is an independent music record label founded in 1958 by Bernard Coutaz in Arles . The Latin phrase means "world harmony"....
ACC8228 - Recorded in 1990, conducted by Christopher HogwoodChristopher HogwoodChristopher Jarvis Haley Hogwood CBE, MA , HonMusD , born 10 September 1941, Nottingham, is an English conductor, harpsichordist, writer and musicologist, well known as the founder of the Academy of Ancient Music.-Biography:...
, The Academy of Ancient Music Orchestra and Chorus. Emma KirkbyEmma KirkbyDame Carolyn Emma Kirkby, DBE is an English soprano singer and one of the world's most renowned early music specialists. She attended Sherborne School For Girls in Dorset and was a classics student at Somerville College, Oxford, and an English teacher before developing a career as a soloist...
, Anthony Rolfe JohnsonAnthony Rolfe JohnsonAnthony Rolfe Johnson, CBE was an English operatic tenor.-Life and career:Born in Tackley in Oxfordshire, Rolfe Johnson studied with Ellis Keeler and Vera Rosza at the Guildhall School of Music and Drama. He first appeared in opera in the chorus and in small roles at the Glyndebourne Festival...
, Michael George. (Editions de L'oiseau-Lyre, Decca Recording Company 430 397-2). Sung in English. - Issued in 2008, sung in English, conducted by Paul McCreeshPaul McCreeshPaul McCreesh is an English conductor.Paul McCreesh is founder and artistic director of the Gabrieli Consort & Players, with whom he has established himself at the highest level in the period instrument field; he is recognised for his authoritative and innovative performances on the concert...
with the Gabrieli Consort and Players and the Chetham's Chamber Choir. Ruth Massey, Paul Harvey, Mark PadmoreMark PadmoreMark Padmore is a British tenor appearing in concerts, recitals, and opera.Born in London 8 March 1961, and raised in Canterbury, Kent in England. Padmore studied clarinet and piano prior to his gaining a choral scholarship to King's College, Cambridge...
, Miah PerssonMiah PerssonMiah Persson, born 27 May 1969 in Örnsköldsvik, is a Swedish soprano, active internationally and in recordings.-Career:Miah Persson grew up in Hudiksvall, singing in choirs and taking part in amateur drama productions...
, Neal Davies and Sandrine PiauSandrine PiauSandrine Piau is an opera soprano. Trained as a harpist, she studied voice at the Collège Lamartine and the Conservatoire National Supérieur de Musique du Paris....
. Deutsche Grammophon Archiv 477 7361, 2 CDs
The Creation In Modern Culture
No. 13, Die Himmel erzählen, or something very like it, is featured in the futuristic novel To Say Nothing of the DogTo Say Nothing of the Dog
To Say Nothing of the Dog: How We Found the Bishop's Bird Stump at Last is a 1997 comic science fiction novel by Connie Willis. It takes place in the same universe of time-traveling historians she explored in her story Fire Watch and novel Doomsday Book.To Say Nothing of the Dog won both the Hugo...
by Connie Willis
Connie Willis
Constance Elaine Trimmer Willis is an American science fiction writer. She has won eleven Hugo Awards and seven Nebula Awards. Willis most recently won a Hugo Award for Blackout/All Clear...
, near the end where Coventry Chapel is finally rebuilt and the choir sings "The Heavens are Declaring the Glory of God".
External links
- The Creation: MIDI/MP3-version, with German text and practice files for choristers
- (German) Libretto: 1804 print and html-Version
- Notes on The Creation by James Keller
- 1803 edition at IMSLP (including English text)
- partial editions at cpdlChoral Public Domain LibraryThe Choral Public Domain Library is a sheet music archive which focuses on choral and vocal music in the public domain or otherwise freely available for printing and performing .-Description:...